Animation Notes from Ollie Johnston 올리 존스턴의 애니메이션 메모들.
* Ollie Johnston은 월트 디즈니 전성기 시절(1930-40년대) 애 활발히 활동한 캐릭터 애니메이터로 그 유명한 애니메이션 바이블 Illusion of Life를 Frank Thomas와 함께 저술한 애니메이터입니다.
- 나는(John Lasseter) 디즈니 스튜디오에서 애니메이터로 일할당시에 여러 훌륭한 디즈니 애니메이터중의 한사람인 Ollie Johnston의 몇가지 간단한 메모들을 복사해서 가지고 있었다. 이 리스트는 또한사람의 위대한 디즈 니 애니메이터 Glen Keane이 Ollie의 assistant로 일하고 난 몇년 뒤에 직접 받아적었던 것이다.
이 메모들은 나에게 수년간 좋은 영감이 되고 있다. 이 메모들이 비록 손으로 그리는 애니메이션에 관해 적혀졌던 것이지만, 그내용들은 컴퓨 터 애니메이션에도 똑같이 적용된다고 믿는다.
1. Don't illustrate words or mechanical movements. Illustrate ideas or thoughts, with the attitudes and actions. 말(언어)나 기계적인 동작을 표현하지 말고 아이디어와 생각을 특유의 태도와 행동으로 표현하라.
2. Squash and stretch entire body for attitudes. 태도를 나타낼때는 캐릭터의 온몸으로 스쿼시와 스트레치를 하라.
3. If possible, make definite changes from one attitude to another in timing and expression. 가능하다면, 하나의 태도에서 다른것으로 옮겨갈때 타이밍과 표현(표정) 에 확실하고 선명한 변화를 주도록 하라.
4. What is the character thinking? 캐릭터가 대체 무슨생각을 하고 있는가???
5. It is the thought and circumstances behind the action that will make the action interesting. 행동을 흥미롭게 하는것은 행동 뒤에 숨어있는 생각(의도)과 캐릭터에게 주어진 환경이다.
Example: A man walks up to a mailbox, drops in his letter and walks away OR A man desperately in love with a girl far away carefully mails a letter in which he has poured his heart out. 예) 한 사람이 우체통으로 걸어가서 편지를 집어넣고 돌아서서 간다. 라고 할 것인가 아니면, '여자친구와 멀리떨어져서 애절한 사랑을 나누는' 사내가 조심스럽게 '그의 온 마음을 쏟아부은' 편지를 우체통에 집어넣는다. 라고 할 것인가??
6. When drawing dialogue, go for phrasing. (Simplify the dialogue into pic- tures of the dominating vowel and consonant sounds, especially in fast dialogue. 대화하는 장면을 그릴때, 프레이징을 하라. (대사를 가장 지배적인 모음과 자 음의 모양으로 단순화시켜라. (단어 하나하나의 입모양을 다 그리려하지 말고) 특히 빠른 대화장면일때 더욱 그렇게 하라.)
7. Lift the body attitude 4 frames before dialogue modulation(but use ident- ical timing on mouth as on X sheet) 대화가 시작되기 4프레임전에 몸의 태도를 고조시켜라.(그러나 입의 모양은 X sheet에서와 똑같은 타이밍에 시작하도록 하라.)
8. Change of expression and major dialogue sounds are a point of interest. Do them, if at all possible, within a pose. If the head moves too much you won't see the changes. 표정변화와 대화의 액센트부분이 사람들의 흥미를 이끈다. 기회가 있다면 필히 이들을 한 포즈안에 삽입하라. 머리의 포즈가 너무 많이 움직인다면, 이 표정변화들을 보기 힘들다.
9. Don't move anything unless it's for a purpose. 목적없이는 아무것도 움직이지 마라.
10. Concentrate on drawing clear, not clean. 깨끗한 그림이 아니라 분명한 그림을 그려라. (깨끗하기만 한 그림과 알아보기 쉽고, 이해할 수 있는 그림과는 차이가 있다.)
11. Don't be careless. 대충대충은 금물.
12. Everything has a function. Don't draw without knowing why. 모든 것은 제 역할이 있다. 왜라는 질문 없이 그림을 그려넣지 마라.
13. Let the body attitude echo the facial. 얼굴 표정이 몸전체에 메아리치게 하라.
14. Get the best picture in your drawing by thumbnails and exploring all avenues. 떰네일링(작고 빠른 러프스케치하는것)과 모든 방법/수단을 연구함을 통해 가장 좋은 그림을 그릴 수 있다.
15. Anylyze a character in a specific pose for the best areas to show sretch and squash. Keep these areas simple. 캐릭터가 스쿼시와 스트레치를 가장 잘 보여줄 수 있는 포즈를 찾도록 연구하고 분석하라. 잘 보여지는 이 부분을 심플하게 처리하라.
16. Picture in your head what it is you're drawing. 당신이 무엇을 그리는지 머리속으로 항상 그려보라.
17. Think in terms of drawing the whole character, not just the head or eyes, etc. Keep a balanced relation of the part of the drawing to the other. 캐릭터를 그릴때 단지 머리나 눈 등등을 따로 그린다고 생각지 말고, 전 체를 항상 염두에 두고 그림을 그려라. 캐릭터의 한 부분이 다른 부분과 의 균형을 이루도록 하라.
18. Stage for the most effective drawing. 가장 효과적인 그림으로 스테이징하라.(샷을 잡는다)
19. Draw a profile of the drawing you're working on every once in a while. A profile is easier on which to show the proper proportions of the face. 작업하고 있는 그림의 옆모습을 때때로 그려라. 옆모습은 얼굴의 적절한 비율을 쉽게 보여준다.
20. Usually the break in the eyebrow relates to the highpoint of the eye. 대부분의 경우 눈썹사이는 눈의 가장 높은부분과 관계가 있다.
21. The eye is pulled by the eyebrow muscles. 눈은 눈썹아래 근육에 의해 당겨진다.
22. Get a plastic quality in face -- cheeks, mouth and eyes. 얼굴에 조형적인 미를 확보하라. 뺨과 입과 눈등을 잘 연구하라.
23. Attain a flow thru the body rhythm in your drawing. 캐릭터의 몸 전체에 흐르는 리듬을 그려넣도록 하라.
24. Simple animated shapes. 형태를 단순하게 애니메이션하라.
25. The audience has a difficult time reading the first 6-8 frames in a scene. 관객들은 씬의 처음 6-8프레임을 금방 알아채고 이해하지 못한다. (중요한 내용이나 연기를 여기 넣지 마라.)
26. Does the added action in a scene contribute to the main idea in that scene? Will it help sell it or confuse it?? 만약 행동이나 연기를 씬에 더할때, 이것이 전체 메인 아이디어를 이해 시키는가를 돕는지 아니면 더 헷갈리게 하는지 확인하라.
27. Don't animate for the sake of animation but think what the character is thinking and what the scene needs to fit into the sequence. 그저 움직이기 위해 애니메이션하지 말고 캐릭터가 무엇을 생각하고 씬이 시퀀스 들어맞기 위해 무엇이 필요한지 생각하라.
28. Actions can be eliminated and staging "cheated" if it simplifies the picture you are trying to show and is not disturbing to the audience. 보여주기 위한 장면을 단순화시킬수 있다면 행동과 연기는 삭제될수도, 거짓연출될 수도(좀 말도 안되게) 있다. 그리고 관객들은 이에 별로 상관 하지 않을것이다.
29. Spend half your time planning your scene and the other half animating. 주어진 시간의 반은 씬을 계획하고 준비하는데 사용하고 나머지 반을 사용 해서 애니메이션하라.
30. How to animate a scene of a four-legged character acting and walking: Work out the acting patterns first with the stretch and squash in the body, neck and head: then go back in and animate the legs. Finally, adjust the up and down motion on the body according to the legs. 네발 달린 캐릭터가 연기하고 걷는것을 애니메이션한다면, 다음과 같이 한다: 먼저 몸(골반먼저, 토르소(상체)다음)의 스쿼시와 스트레치를 애니메이션하고 그다음 목과 머리, 그다음에 다리를 애니메이션한다. 그리고 다시 몸으로 돌아와서 몸의 상하운동을 다리동작에 맞추어 조정한다.
Get expert animation advice from Pixar’s directing animators Andrew Gordon and Robb Denovan as they reveal 10 tips and tricks.
The team at Pixar are behind some of the best3D moviesto ever hit the screen. Here, directing animators Andrew Gordon and Robb Denovan share their expertise on what it takes to be a great animator.
01. Do your research
If you're just jumping into a shot, you’re taking a risk. Actors do research and so should animators. Prepare yourself for your work in whatever way suits you. Some prefer drawing, while others do video research. Do whatever works for you and make it a habit.
02. On locomotion
If you have to animate something that you haven’t animated before, break it down into its simple components. For example, on Monsters University, animating the tentacles on Terry-Terri was challenging. We tried to colour-code all his different tentacles to make them easier to see.
The PIxar team had to colour-code Terry-Terri's tentacles in order to see them better and make them easier to animate
03. On workflow
Try to keep your animation playback in real time. The faster you can work, the better you will be able see changes happen. Work with a light model, and use a primitive base to stand in for your complex sets. Leave aside all the complicated stuff that would slow down your scene until the shot is close to completion, then add it in.
04. Use those tools
There are a lot of things that computers and CG software do well. Make sure that you put your work into the acting and performance, and then let the computer tools help you polish the work to a fine level.
05. Know what to polish
Assess the parts of the scene that really need a high level of finish and spend the time on that aspect of the scene. Prioritise the areas that really need the time and work around that.
Assess the parts of the scene that really need a high level of finish and spend the time on that aspect of the scene
06. Show often and early
It’s better to get your work out there rather than hide away animating until you think it’s a perfect time to show it. You really need to put your ego away and be open to an honest critique. It’s very rare that scenes fly under the radar without notes. Animation is a collaboration. You and the director are trying to find the best possible performance for that point in the story, and that process takes time.
07. When in doubt, throw it out
Sometimes a scene can get so confused and complicated that I save a recording of my work and the scene file and then start again from the beginning.
Try to use as few controls as possible so you can move from pose to pose with relative ease
I try to use as few controls as possible so I can move from pose to pose with relative ease. Often, animators have overly complicated setups for how they animate. Try to keep things simple.
08. Don't think there is a right way to block
Step key, layering, keyframing, straight ahead - the list goes on. Everyone works differently and, depending on the scene, a shot might be blocked in using different methods. Some scenes require a complex pose; others might just be a pogo stick bouncing around. The point is to not think that there’s a magic bullet for blocking. The trick to remember is that the blocking should be clear.
When you are working on a production and footage needs to flow, grab anything that might help
09. Beg, borrow and steal
When you are working on a production and footage needs to flow, grab anything that might help: walk cycles, face shapes, hand shapes and so on. If you see someone that did a great piece of work, go and talk to them about it, find out what made that scene so great. Some animators will open up other animators’ shots and see how they are doing things. People want to understand how they got to that place.
10. Live life
Let's face it: animation is an acting profession. It’s important to have some life experience to imbue your characters with. Travel, go to see shows, watch people, write down your ideas and record memorable moments. In order to animate well you need to be a great observer.
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It's hard, it's painful and most of us who animate would do it for free
You also need to have a certain sense of what makes a scene entertaining. Some animators excel at the funny, others hit the physicality and others are great at the subtle acting; and then you have the guys that can do it all.
But remember this: it’s hard, it’s painful and most of us who animate would do it for free. Seeing that character come to life is still magic.
Words: Andrew Gordon and Robb Denovan
Andrew Gordon joined Pixar in 1997, where he has been an animator on A Bug’s Life, Toy Story 2, Monsters, Inc, The Incredibles, Ratatouille and Finding Nemo. He also teaches at California College of The Arts in Oakland.
Robb Denovan is a character animator at Pixar Animation Studios, whose most recent projects include the Academy Award-winning Brave and Pixar’s most recent animated feature film, Monsters University.
This article originally appeared in3D Worldmagazine.